For Your Consideration

Not rated yet!
Director
Christopher Guest
Runtime
1 h 26 min
Release Date
22 November 2006
Genres
Comedy, Drama
Overview
Three actors learn that their respective performances in the film "Home for Purim," a drama set in the mid-1940s American South, are generating award-season buzz.
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VJ Morton3
Right Wing Film Geek



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  • Toronto – Day 5 – capsules

    Toronto – Day 5 – capsules

    ALL THE KING’S MEN (Steve Zaillian, USA, 4)

    Not as craptacular as some of the early reports, from Noel Murray, Jim Ridley and others. For one thing, I wasn’t terribly bothered by the admittedly scenery-chewing performances from James Gandolfini and from Sean Penn outside his stump speeches, which really ARE gratingly over-the-top. Both men are playing a type of “redneck” Southern male not unknown in real life who has a “big” personality with which he tries to fill the room and play to the back row. Penn and Gandolfini are also never without twinkles in their eyes to leaven everything. Some of the individual sequences are powerful. The visit to the judge’s home, both in how it’s set up at the film’s in-media-res beginning and how it plays out once happened. Also, Jude Law and Anthony Hopkins do quite well with their typed parts — audience-ID and movie’s-conscience; and the last image is powerful. That said, KING’S MEN has some severe problems — the hyperactive and fanfare-addicted horn section needed to put a frickin sock in it and the plot is very sketchy For example, Huey Long Willie Stark really WAS a corrupt summvabitch — something KING’S MEN barely more than makes note of; you’d be forgiven for thinking the legislature was impeaching him on trumped-up lies.

    I am curious about one thing, though. The movie’s timeframe is moved up from the 30s of real-life and the Robert Penn Warren novel/film, to the early 50s. Why? Not only is there no discernable reason, but it adds two distinct problems: (1) economic populism would not have played as well during the post-war prosperity and the post-New-Deal state as it did during the Depression; and (2) the film makes no mention of what was in fact the biggest issue of Southern politics in the early 1950s, the civil-rights movement.

    FOR YOUR CONSIDERATION (Christopher Guest, USA, 7)

    Guest drops the mockumentary format, but this film about Oscar season is so steeped in film discourse and different levels of reality (onscreen/offscreen; cutaways to interviews; and clips from a variety of faked shows) that it hardly makes a difference. FOR YOUR CONSIDERATION is not even trying to be realistic and always parodic, so it makes no more sense to complain that HOME FOR PURIM as shown would not be an Oscar contender, nor be retooled so quickly into HOME FOR THANKSGIVING than it does to complain about the absurdity of the lyrics on “Smell the Glove.” Fred Willard is doing exactly the same act here that he always does on Guest’s movies and it’s never not funny. (For Your Skandie Considerification: Willard’s Oscar Day interviews segment). The suggested posters for HOME FOR PURIM is a gag Guest has never not done and it’s still funny. I know that “funny is funny” isn’t much of a review, but there’s not much more to say about this. There isn’t a moment of pure emotional joy that the Mitch & Mickey reunion in A MIGHTY WIND was, nor does CONSIDERATION reach the Everest peak of SPINAL TAP.

    FAY GRIM (Hal Hartley, USA, 7)

    Maybe I’m a pushover by this point in a festival, but I also thought this movie, a sequel to 1998’s HENRY FOOL (the only other Hartley film I unambiguously like), pure midless fun as well. It has little in common with HENRY other than the characters and some of Hartley’s characteristic deadpan absurdity in the content of the script, but the delivery is totally different. Instead, it’s basically THE THIRD MAN from the POV of Alida Valli, but done as a screwball comedy, with Parker Posey as the titular heiress. Think about the parallels with Carol Reed’s masterpiece — every shot in FAY GRIM is tilted; it’s primary plot is about the search for a character who doesn’t appear for 4/5 of the film’s running time; when he does appear it’s for one lengthy dialog scene and for a wordless chase scene. There’s a lot of political material in both films — the opening obsession with the details of Vienna’s political status; every secret political action since 1970 appears until the FBI has convinced itself that Henry’s Confessions were a coded blueprint for a nuclear bomb.

    But here’s the most important parallel — that’s all classic Hitchcockian MacGuffin. It no more matters in FAY GRIM what’s in Henry’s “Confessions” book than the details of the Viennese penicillin trade or uranium sands or whatever the colorful NORTH BY NORTHWEST was all about. It’s about the Valli-Cotten-(memories of) Lime triangle, or whether the abandoned Fay will get together with Henry. The great difference is that Reed does take his material somewhat seriously, but Hartley doesn’t — eventually, the viewer, though nobody in the movie, realize that Henry’s “Confessions” is the classic post-modern text. I knew right away that none of this was meant to be serious — a pornographic viewing device gets passed around several educated religious men and they can’t even realize what is the alphabet for some text written on the wall behind an orgy, with each making guesses using languages that use different alphabets and so can’t possibly be mistaken for one another. So I just sat back and laughed at everybody in the movie’s eforts to “make sense” of it all.

    Everything in FAY GRIM exists to be milked for laughs — to hear Jeff Goldblum (brilliant), Posey, James Urbaniak, etc., rattle off Hartley’s arch dialogue, which the strange delivery and the canted camera feed off of. In my dream of dreams, I hope the genesis of this project was that someone offered Hartley a lot of money to make a (unneeded) sequel to HENRY FOOL, and he decided to surround the only thing that could matter — the Fay-Simon-Henry triangle — with a lot of absurd guff, signifying nothing.

    I DON’T WANT TO SLEEP ALONE (Tsai Ming-liang, Malaysia/Taiwan, 2)

    I have no doubt that this grade reflects in larger part disappointment at a film by one of my favorite directors than objective badness (though I genuinely did dislike it). By about the hour point, the only thing that was in my head was — why? I tried to think about why I respond so favorably to most Tsai movies and yet could not bear this one.

    I decided that the degree to which I like a Tsai is almost directly proportional to how funny it is. With his parched-dry style — no camera movement, no cutting within a scene, very little dialogue (GOODBYE DRAGON INN had fewer than 15 lines not from the film screen) — Tsai needs the leavening of humor or absurdly artificial musical numbers to keep his films from collapsing into tedium. In I DON’T WANT TO SLEEP ALONE, not only is there very little humor (and all the music just songs on the radio), but the best of what little there is comes at the end. For example, with about 20 minutes to go, Kuala Lumpur gets hit by a dust storm and that causes some very funny complications, such as two characters trying to have sex while wearing those public-breathing masks. “At last,” I think, “here’s the director I love,” remembering how often Tsai’s Taipei got hit by storms, floods or droughts, with which the chataracters in DRAGON, THE HOLE, THE RIVER, and THE WAYWARD CLOUD have to cope — bailing the apartments, the value of watermelons, trying to shoot a porn-film shower scene with no water.

    Other mistakes — without the standard dialog (or at least the sound of voices), and the usual editing cues, it gets hard to juggle more than three or four significant characters without obvious connections, as he tries to do here. He needs a densely-concentrated universe, rather than semi-portrait of a city thing. It was also a mistake to cast Lee Kang-sheng in two different roles and have one of the roles being comatose in two different places (I was thinking for the first half-hour that there was time-juggling going on). Frankly, I DON’T WANT TO SLEEP ALONE just lost me in its failure to create characters and situations that mattered. Ryan Wu once predicted in a private e-mail, before I’d seen any of Tsai’s movies, that I wouldn’t be much of a fan. He turned out to be wrong, but after seeing this film, I can see where he could have got that opinion.

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    September 13, 2006 - Posted by | Uncategorized | , , , ,

    1 Comment »

    1. I’m a big fan of Tsai’s too–haven’t seen this yet though…He’s an acquired taste I believe.

      Comment by Replicant | December 28, 2007 | Reply


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  • It’s Toronto Time
    (”For Your Consideration” is briefly mentioned in this.)

    It’s Toronto Time

    I make my annual pilgrimage to the Toronto Film Festival starting tomorrow, and one person at work already has asked me specifically whether I’ll be seeing the Bush assassination movie.

    I had DOAP on my initial, broken-down-by-days short-list, and I have the scheduling notes to prove it. There are some plot resemblances to THE DAY OF THE JACKAL, so using an assassination (attempt) on a current named political figure as a fictional premise doesn’t per se trouble me (but more on that anon). And the style/premise — a muck-raking “documentary” set in the future tells the real story of what happened in the Bush Assassination — resembles the great ZELIG, which I think is one of Woody Allen’s two or three best films. In a different world, this is a movie I would, in principle, be interested in.

    Unless Noah Cowan’s description is completely bollixed (which would not be unprecedented … in fact in some cases, I’m downright hoping for it), I can’t imagine wanting to see this film at this festival. Most unconvincing line in Cowan’s description — “The film is never a personal attack on Bush; Range simply seeks to explore the potential consequences that might follow from the President’s policies and actions.” Reminds me of George Will’s description of how a negative-campaigning candidate defends his ads: “I am not being negative, I am merely alerting the public to my loathesome opponent’s squalid voting record.”

    I won’t relate the specific examples until Bilge puts up my Worst Moviegoing Experiences on the Nerve Screengrab blog, but I have had enough “lone Celtic supporter at the Rangers end” moments to know how art-house and film-festival audiences will consume DOAP which will inevitably color my reaction. At Toronto, “Fidelista” is a term of praise (just read this and weep) and Bush Derangement Syndrome and Christophobia are normal. First example to pop into my head from this year, go to the listing for AMAZING GRACE and ask yourself how you would know, other than a vague and unspecified reference to “man of the cloth,” whether religion might be involved and (more specifically) how, and what the title might refer to (you’d be forgiven for thinking it’s a reference to how hot the chick in the picture is).

    In this time, at that context, DOAP will be consumed as a masturbatory fantasy and I wouldn’t put a round of applause or cheering. Maybe someday, alone, after the film has died its death and nobody remembers how Karl Rove tried to turn Valerie Plame over to Osama bin Laden in exchange for campaign contributions to pay off Katharine Harris (that IS what he did, right?), I’ll see DOAP Not now.

    I dunno why this film hasn’t gotten as much flak. But if DOAP is inherently and a priori distasteful, it’s hard to see why a film called HOW I PLANNED TO KILL TONY BLAIR wouldn’t be. Still, while I’m pretty much past the point of interest in anything the artist/bohemian class thinks it has to say about politics, I will be going to see at least one political doc. THE DIXIE CHICKS: SHUT UP AND SING has the potential to be a HARLAN COUNTY USA (director Barbara Kopple, plus my unfamiliarity with the Chicks’s music, is why I’m interested) or the few minutes of FAHRENHEIT 9/11 that I managed to endure when I finally broke down a few months ago and it was playing on a free channel (Sundance). When I know the personages involved, I try to pay as little attention to the descriptions in the Festival Guidebook, so I’ll approach DIXIE CHICKS with the guarded optimism that is obligatory.

    As for my schedule, this year was one of the worst for not getting my first choices — I must have drawn a bad box. For the couple of days, i.e., opening weekend, I mostly got second-choice films (though mostly pretty good ones) and overall missed more than a half-dozen of my first choices.

    I didn’t get the single to-the-general-public morning screenings of Gala presentations and likely fall awards-bait VOLVER by Almodovar and Inarritu’s BABEL, the former of which I’m more bummed about and will consider going into the rush line to see if I can get a ticket. After all, Almodovar has reportedly managed to get a tolerable performance from Penelope Cruz, acting in Spanish again and who, like Sophia Loren (a previous generation’s favorite Latin sexpot), is much better in her native language.

    Some of the other not-gotten 1st choices, all of which I’m considering rushing:
    ● There is much anger in me when I not getting much ticket to important Kazakhstani cinema. Will start and joining with campaign against racist film making many funs of great country Kazakhstan.
    ● I should have known that the title THE PERVERT’S GUIDE TO CINEMA would just be too attractive to too many, even (especially) to those with no knowledge of Slavoj Zizek (apparently playing a Michael Palin-like guide). I hope they choke on the Lacanisms.
    ● Why the heck would a Kore-eda film (HANA) be a big buzz item? I thought NOBODY KNOWS was a masterpiece, but it was not a crowd-please at all. And while it did win a general release, it flopped.
    No Maddin 06. Like with the Kore-eda I hope it’s because a great filmmaker is finally winning an audience, but man, this would have been a once-in-a-lifetime experience — seeing a silent film with an orchestra, which includes a sound-effects team, a singer and a narrator. The kind of screening a festival is made for.

    But I can’t complain too hard. Here is my schedule of the films I got ticket for, and it’s a good mix of foreign and English, my favorite auteurs and buzz titles, austere and popcorn, and a few blind stabs in the dark — exactly what a festival is about:

    7 Sept
    02:00pm The Magic Flute (Kenneth Branagh, Britain)
    09:00pm The Lives of Others (Florian Henckel von Donnersmarck, Germany)

    8 Sept
    09:00am 12:08 East of Bucharest (Corneliu Porumboiu, Romania)

    Dunno why I got both my 1st and 2nd choices for this time … will sort out later

    09:30am The Journals of Knud Rasmussen (Zacharias Kunuk and Norman Cohn, Canada)
    11:45am Requiem (Hand-Christian Schmid, Germany)
    03:00pm Climates (Nuri Bilge Ceylan, Turkey)
    06:15pm A Grave-Keeper’s Tale (Chitra Palekar, India)
    09:00pm Vince Vaughn’s Wild West Comedy Show (Ari Sandel, USA)
    midnight The Host (Bong Joon-ho, South Korea)

    9 Sept
    09:15am La Tourneuse de Pages (Denis Dercourt, France)
    noon The Wind that Shakes the Barley (Ken Loach, Britain)
    03:00pm The Fall (Tarsem, Britain/India)
    06:30pm Half Moon (Bahman Ghobadi, Iran)
    09:15pm Woman on the Beach (Hong Sang-soo, South Korea)

    10 Sept
    03:15pm Born and Bred (Pablo Trapero, Argentina)
    06:30pm Offside (Jafar Panahi, Iran)
    08:45pm Cashback (Sean Ellis, Britain)

    11 Sept
    09:30am All The King’s Men (Steve Zaillian, USA)
    noon For Your Consideration (Christopher Guest, USA)
    03:30pm 10 Items or Less (Brad Silberling, USA)
    06:00pm Fay Grim (Hal Hartley, USA)
    09:00pm I Don’t Want to Sleep Alone (Tsai Ming-liang, Taiwan)

    12 Sept
    09:00am Takva – A Man’s Fear of God (Ozer Kiziltan, Turkey)
    11:45am The Pleasure of Your Company (Michael Ian Black, USA)
    03:00pm Coeurs (Alain Resnais, France)
    05:30pm Outsourced (John Jeffcoat, USA)
    midnight Trapped Ashes (Joe Dante, Ken Russell, Sean Cunningham, Monte Hellman, John Gaeta, USA)

    13 Sept
    09:30am Dixie Chicks – Shut Up and Sing (Barbara Kopple and Cecilia Peck, USA)
    noon Mon Meilleur Ami (Patrice Leconte, France)
    02:30pm Little Children (Todd Field, USA)
    04:45pm Syndromes and a Century (Apichatpong Weerasethakul aka “Joe,” Thailand)
    09:00pm Grbavica (Jasmila Zbanic, Bosnia)

    14 Sept
    noon Breaking and Entering (Anthony Minghella, Britain)
    03:00pm The Fountain (Darren Aronovsky, USA)
    06:00pm King and the Clown (Lee Jun-ik, South Korea)
    09:30pm Red Road (Andrea Arnold, Britain)
    midnight Severance (Christopher Smith, Britain)

    15 Sept
    09:45am A Few Days Later (Niki Karimi, Iran)
    12:45pm The Island (Pavel Lounguine, Russia)
    03:00pm Seraphim Falls (David von Ancken, USA)
    09:00pm Belle Toujours (Manoel de Oliveira, France)

    16 Sept
    08:45am The Dog Problem (Scott Caan, USA)
    noon The Banquet (Feng Xiaogang, China)
    04:45pm Rescue Dawn (Werner Herzog, USA)
    09:00pm Lights in the Dusk (Aki Kaurismaki, Finland)

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    September 4, 2006 - Posted by | Uncategorized

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  • Toronto — Day 5 — grades
    (”For Your Consideration” is briefly mentioned in this.)

    Toronto — Day 5 — grades

    All the King’s Men (Steve Zaillian, USA, 4)
    For Your Consideration (Christopher Guest, USA, 7)
    Fay Grim (Hal Hartley, USA, 7)
    I Don’t Want to Sleep Alone (Tsai Ming-liang, Malaysia/Taiwan, 2)

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    September 12, 2006 - Posted by | Uncategorized |

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  • 10 Films Set Around Thanksgiving That You Can Stream Tonight
    Lifestyle Looking for a movie to watch this holiday that’s at least somewhat relevant to the season? Perfect. We’ve got you covered.These films aren’t necessarily about Thanksgiving, although a couple of them are. Regardless, they each have some connection to the holiday and provide a welcome escape. Here are 10 films set around Thanksgiving that you can stream tonight: var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': 'Tower Heist (2011) Official HD Trailer', 'videoType': 'Curated' }); #10. Tower HeistCapitalizing on real-life headlines regarding Wall Street graft and investment Ponzi schemes, Tower Heist imagines how the staff of a high-rise luxury apartment complex would react to the news that their most high-profile tenant had squandered their retirement savings. The comedy stars Ben Stiller, Eddie Murphy, Matthew Broderick, Casey Affleck, and Alan Alda.When Alda’s Wall Street billionaire is arrested for scamming investors out of their money, Stiller’s building manager recruits Murphy’s petty thief to help the defrauded building staff steal their money back.Thanksgiving Connection: The titular heist occurs during the annual Macy’s Thanksgiving Day Parade.Streaming options: Available to rent/buy on Amazon and Vudu. class="pages"> https://pjmedia.com/lifestyle/2014/11/27/10-films-set-around-thanksgiving-that-you-can-stream-tonight/ previous Page 1 of 10 next   ]]>
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